Abstract
The writer analyzes the Raising of Lazarus, a medium-size panel by Albert Outwater in the Gemaldgalerie in Berlin. The Raising of Lazarus was probably painted after 1640, possibly even in the following decade. There is little doubt that Ouwater was aware of Jan van Eyck's Madonna of Canon van der Paele, because he borrowed not only the rounded, Romanesque structure of the apse, but also the colored columns, the style of their capitals, and the design of their bases. The different colors of the inside of the choir and the ambulatory indicate a direct reliance on the composition of Rogier van der Weyden's Exhumation of St. Hubert. Comparisons also appear to suggest that Outwater was a painter from the circle of Dirk Bouts.
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